- Industry: Art history
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Derived from the Greek word (Haptesthai) meaning 'touch' or 'contact', haptic relates to the way in which humans interact by touch with the world around them. Artists use haptic technology to give the sensation of a physical presence to a virtual object. This can be manifested in several ways: via vibrations in sound installations or using computer software that has input devices that offer touch feedback. An example of this is a computer program that enables the user to paint a picture using virtual 3D brushes.
Industry:Art history
Can be seen as a subdivision of Post-Painterly Abstraction, which in turn emerged from Colour Field painting. The term was coined by the Californian critic Jules Langster in 1959 to describe those abstract painters, particularly on the West Coast, who in their reaction to the more painterly or gestural forms of Abstract Expressionism adopted a particularly impersonal paint application and delineated areas of colour with particular sharpness and clarity. This kind of approach to abstract painting became extremely widespread in the 1960s.
Industry:Art history
Sometimes known as the New Negro Movement, the Harlem Renaissance was the flowering of black art, literature and music in the United States and in particular, Harlem, New York, in the 1920s. Its predominant idea was that through the production of art, literature and music, the 'New Negro' could challenge the pervading racism and stereotyping of the white community and therefore promote racial integration. Artists associated with the movement include Aaron Douglas and Lois Mailon Jones.
Industry:Art history
Term History introduced by French Royal Academy in seventeenth century to describe the most important of the types, or genres, of painting. The others in descending order were portrait; genre (scenes of everyday life), landscape, and still life. Term History in fact covered subject matter drawn from ancient Greek and Roman (classical) history; classical mythology, and the Bible. Towards end eighteenth century modern historical subjects were introduced, for example in Britain by West and Copley. Style of History painting should be Grand Style and the result was known overall as High Art.
Industry:Art history
The collective name given for a number of North American landscape painters active between the 1820s and 1870s who depicted scenes of natural beauty in areas that included the Hudson River Valley and the Catskill Mountains. Prominent artists associated with the school include Thomas Cole and Frederic Edwin Church. (See also Luminism)
Industry:Art history
Term that appeared in the early 1970s to describe a resurgence of particularly high fidelity realism in sculpture and painting at that time. Also called Super-Realism, and in painting is synonymous with Photo-Realism. In sculpture the outstanding practitioner was Duane Hanson, together with John de Andrea. More recently the work of Ron Mueck and some of that of Robert Gober could be seen as Hyper-Realist. Leading painters were Chuck Close, Robert Bechtle, Richard Estes, Audrey Flack, Ralph Goings.
Industry:Art history
The iconography of a painting is the imagery in it. The term comes from the Greek word ikon meaning image. An icon was originally a picture of Christ on a panel used as an object of devotion in the orthodox Greek Church from at least the seventh century on. Hence the term icon has come to be attached to any object or image that is outstanding or has a special meaning attached to it. An iconography is a particular range or system of types of image used by an artist or artists to convey particular meanings. For example in Christian religious painting there is an iconography of images such as the lamb which represents Christ, or the dove which represents the Holy Spirit. In the iconography of classical myth however, the presence of a dove would suggest that any woman also present would be the goddess Aphrodite or Venus, so the meanings of particular images can depend on context. In the eighteenth century William Blake invented a complex personal iconography to illustrate his vision of man and God, and much scholarship has been devoted to interpreting it. In the twentieth century the iconography of Picasso's work is mostly autobiographical, while Joseph Beuys developed an iconography of substances such as felt, fat and honey, to express his ideas about life and society. Iconography (or iconology) is also the academic discipline of the study of images in art and their meanings.
Industry:Art history
義大利集團成立于 1922 年由富尼文化、 攝影師平均、 香港東亞銀行和其他人。在 1923 年在米蘭，會見了作為一個發言者墨索里尼正式啟動。墨索里尼的義大利法西斯党創始人，1922 年奪取了政權，成為義大利的獨裁者。後參加了 1924 年威尼斯雙年展集團拆分和進行了改革。新 Novecento 義大利舉行其首個組展覽在米蘭 1926 年。該集團的目標是振興大幅面歷史繪畫傳統古典的方式。集團支援法西斯主義和它的工作成為了國家宣傳部門與相關聯。
Industry:Art history
In Baroque art refers particularly to decorative schemes in buildings, especially ceiling paintings, in which the artist uses perspective and foreshortening to create, for example, the illusion that the ceiling is open sky populated by groups of figures such as saints, angels or whatever. Such effects are also sometimes referred to as trompe l'oeil, a French phrase meaning deceives the eye. More generally illusionism can refer to any painting which strives to achieve a high degree of mimesis, meaning imitation of reality. High levels of illusionism are typically found in seventeenth-century still life paintings. If the artist chooses subject matter that particularly lends itself to reproduction in paint on canvas (i. E. Is basically flat) the results can be exceptionally effective. An example is Edward Collier's A Trompe l'Oeil of Newspapers, Letters and Writing Implements on a Wooden Board. In modern art theory illusionism has been frowned upon on the grounds that it denies the basic truth of the flatness of the canvas. However, Surrealist artists such as Salvador Dalí and René Magritte have used it to great effect to evoke the alternative world of the unconscious mind.
Industry:Art history
厚漆、 或紋理，在繪畫中的一個區域。第一次明顯在威尼斯文藝復興時期的畫家提香和丁托列托、 然後在巴羅克繪畫，例如魯本斯。在十九世紀景觀、 博物學家和浪漫繪畫的日益顯著。使用的 impasto 成為了現代藝術中，認為抓住了表面的一幅畫應該有它自己的現實而不是只是更多或更少強制性正在順利進入超越幻象世界視窗。與此去的想法油漆的紋理和形狀的 brushmark 可以自己説明傳達的感覺，他們是一種手寫的他們可以直接表達了演出者的情感還是主題的回應。（請參閱手勢。一幅畫中的 impasto 是一個突出的特點也可以說是繪畫效果。這個詞帶有演出者是陶醉在油油漆本身的操作和最充分地利用其感性的屬性的含義。想法演出者應該前景的材料的工作的固有特質作為中央中是一個現代藝術和撮錄在材料 (也參見直接雕刻) 的短語真相及其內容的一部分。
Industry:Art history
